Books by Gabrielle Malcolm
Fan Phenomena: Jane Austen (Intellect, April 2015)
Nearly two hundred years after her death, Jane Austen is one of the most widely read and beloved ... more Nearly two hundred years after her death, Jane Austen is one of the most widely read and beloved English novelists of any era. Writing and publishing anonymously during her lifetime, the woman responsible for some of the most enduring characters (and couples) of modern romantic literature—including Elizabeth Bennett and Mr. Darcy, Emma Woodhouse and George Knightley—was credited only as “A Lady” on the title pages of her novels.
It was not until her nephew, more than five decades after her death at the age of 41, published a memoir of his “dear Aunt Jane” that she became widely known. From then on, her fame only grew, and fans and devotees, so-called “Janeites,” soon idolized and obsessed over her. But Austen found an appreciative audience not only of readers but also of academics, whose scholarship legitimated and secured her place in the canon of Western literature. Today, Austen’s work is still assigned in courses, obsessed over by readers young and old, parodied and parroted, and adapted into film.
Were she alive today, Austen may not recognize some of the work her novels have inspired, such as a retelling of Sense and Sensibility featuring sea monsters, internet fan fiction, or a twelve foot statue of a wet-shirted Colin Firth as Mr. Darcy depicting a scene that doesn’t even appear in her novel.
But like any great art that endures and excites long after it is made, Austen’s novels are inextricable from the culture they have created. Essential reading for Austen’s legions of admirers, Fan Phenomena: Jane Austen collects essays from writers and critics that consider the culture surrounding Austen’s novels.
Locating Shakespeare in the 21st Century
The first decade of the new century has certainly been a busy one for diversity in Shakespearean ... more The first decade of the new century has certainly been a busy one for diversity in Shakespearean performance and interpretation, yielding, for example, global, virtual, digital, interactive, televisual, and cinematic Shakespeares. In Locating Shakespeare in the Twenty-First Century, Gabrielle Malcolm and Kelli Marshall assess this active world of Shakespeare adaptation and commercialization as they consider both novel and traditional forms: from experimental presentations (in-person and online) and literal rewritings of the plays/playwright to televised and filmic Shakespeares.
More specifically, contributors in Locating Shakespeare in the Twenty-First Century examine the BBC’s ShakespeaRE-Told series, Canada’s television program Slings and Arrows, the Mumbai-based film Maqbool, and graphic novels in Neil Gaiman’s Sandman series, as well as the future of adaptation, performance, digitization, and translation via such projects as National Theatre Live, the Victoria and Albert Museum’s Archive of Digital Performance, and the British Library’s online presentation of the complete Folios. Other authors consider the place of Shakespeare in the classroom, in the Kenneth Branagh canon, in Jewish revenge films (Quentin Tarantino’s included), in comic books, in Young Adult literature, and in episodes of the BBC’s popular sci-fi television program Doctor Who. Ultimately, this collection sheds light, at least partially, on where critics think Shakespeare is now and where he and his works might be going in the near future and long-term. One conclusion is certain: however far we progress into the new century, Shakespeare will be there.
Circe, Mary Braddon (edited & introduction by Gabrielle Malcolm)
Writing Women of the Fin de Siecle
Papers by Gabrielle Malcolm
Fan Appreciation no.4
Intellect Books, May 1, 2015
Fan Appreciation no.3
Intellect Books, May 1, 2015
Fan Appreciation no.2
Intellect Books, May 1, 2015
Darcymania
Intellect Books, May 1, 2015
Fan Appreciation no.1
Intellect Books, May 1, 2015
Darcymania
Fan Phenomena: Jane Austen
Papers found in a trunk : a descriptive assessment of the Braddon Family manuscript archive
EThOS - Electronic Theses Online ServiceGBUnited Kingdo
Writing Women of the Fin de Siècle
Mario Ortiz Robles , The Novel as Event . Ann Arbor : University of Michigan Press , 2010 . Pp. xviii + 253 . $80 cloth; $32.50 paper
Nineteenth-Century Literature, 2011
Sons of Fire and A Lost Eden: Expectations of Narrative and Protocols of Reading in Mary Braddon’s Fin-de-Siècle Fiction
Mary Braddon’s late fin-de-siecle novels Sons of Fire (1895) and A Lost Eden (1904) offer a very ... more Mary Braddon’s late fin-de-siecle novels Sons of Fire (1895) and A Lost Eden (1904) offer a very useful tandem study in plot devices and narrative structure that both reinforce and defy the usual expectations. Like her contemporary readership, later literary critics usually expect to read Braddon’s work as sensation fiction that includes a central puzzle involving secrecy, transgression, or crime. The two novels considered here align themselves with some of the expected conventions of Victorian fiction and of Braddon’s own best-known techniques of sensation writing, but they also anticipate and pioneer protocols of reading that sit well with later Edwardian and twentieth-century fiction. These protocols involve foregrounding different aspects and devices, such as promoting the sleuthing element rather than the criminal element and initiating the psychological explanation rather than the sensational one. It is possible to recognize Braddon’s late novels as experimental in a number of...
Sons of Fire and A Lost Eden
Writing Women of the Fin de Siècle, 2011
Documents of Performance: <i>The Revenge of the Dead</i>: Mary Braddon's Unpublished Script Fragment
Nineteenth Century Theatre and Film, 2006
Locating Shakespeare in the Twenty-First Century
PopMatters Archive: reviews and blogging
Blogging Braddon 3: ‘Dear Boss’, how many roads must an archival researcher travel?
Blogging Braddon 4: Titillation and Tactility in the ‘Tally-HO’ Letter from John Gilby to Mary Braddon (1860)
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Books by Gabrielle Malcolm
It was not until her nephew, more than five decades after her death at the age of 41, published a memoir of his “dear Aunt Jane” that she became widely known. From then on, her fame only grew, and fans and devotees, so-called “Janeites,” soon idolized and obsessed over her. But Austen found an appreciative audience not only of readers but also of academics, whose scholarship legitimated and secured her place in the canon of Western literature. Today, Austen’s work is still assigned in courses, obsessed over by readers young and old, parodied and parroted, and adapted into film.
Were she alive today, Austen may not recognize some of the work her novels have inspired, such as a retelling of Sense and Sensibility featuring sea monsters, internet fan fiction, or a twelve foot statue of a wet-shirted Colin Firth as Mr. Darcy depicting a scene that doesn’t even appear in her novel.
But like any great art that endures and excites long after it is made, Austen’s novels are inextricable from the culture they have created. Essential reading for Austen’s legions of admirers, Fan Phenomena: Jane Austen collects essays from writers and critics that consider the culture surrounding Austen’s novels.
More specifically, contributors in Locating Shakespeare in the Twenty-First Century examine the BBC’s ShakespeaRE-Told series, Canada’s television program Slings and Arrows, the Mumbai-based film Maqbool, and graphic novels in Neil Gaiman’s Sandman series, as well as the future of adaptation, performance, digitization, and translation via such projects as National Theatre Live, the Victoria and Albert Museum’s Archive of Digital Performance, and the British Library’s online presentation of the complete Folios. Other authors consider the place of Shakespeare in the classroom, in the Kenneth Branagh canon, in Jewish revenge films (Quentin Tarantino’s included), in comic books, in Young Adult literature, and in episodes of the BBC’s popular sci-fi television program Doctor Who. Ultimately, this collection sheds light, at least partially, on where critics think Shakespeare is now and where he and his works might be going in the near future and long-term. One conclusion is certain: however far we progress into the new century, Shakespeare will be there.
Papers by Gabrielle Malcolm
It was not until her nephew, more than five decades after her death at the age of 41, published a memoir of his “dear Aunt Jane” that she became widely known. From then on, her fame only grew, and fans and devotees, so-called “Janeites,” soon idolized and obsessed over her. But Austen found an appreciative audience not only of readers but also of academics, whose scholarship legitimated and secured her place in the canon of Western literature. Today, Austen’s work is still assigned in courses, obsessed over by readers young and old, parodied and parroted, and adapted into film.
Were she alive today, Austen may not recognize some of the work her novels have inspired, such as a retelling of Sense and Sensibility featuring sea monsters, internet fan fiction, or a twelve foot statue of a wet-shirted Colin Firth as Mr. Darcy depicting a scene that doesn’t even appear in her novel.
But like any great art that endures and excites long after it is made, Austen’s novels are inextricable from the culture they have created. Essential reading for Austen’s legions of admirers, Fan Phenomena: Jane Austen collects essays from writers and critics that consider the culture surrounding Austen’s novels.
More specifically, contributors in Locating Shakespeare in the Twenty-First Century examine the BBC’s ShakespeaRE-Told series, Canada’s television program Slings and Arrows, the Mumbai-based film Maqbool, and graphic novels in Neil Gaiman’s Sandman series, as well as the future of adaptation, performance, digitization, and translation via such projects as National Theatre Live, the Victoria and Albert Museum’s Archive of Digital Performance, and the British Library’s online presentation of the complete Folios. Other authors consider the place of Shakespeare in the classroom, in the Kenneth Branagh canon, in Jewish revenge films (Quentin Tarantino’s included), in comic books, in Young Adult literature, and in episodes of the BBC’s popular sci-fi television program Doctor Who. Ultimately, this collection sheds light, at least partially, on where critics think Shakespeare is now and where he and his works might be going in the near future and long-term. One conclusion is certain: however far we progress into the new century, Shakespeare will be there.